ARS LIBRI NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART
Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763
Electronic List 98: Modern Art New York Antiquarian Book Fair 2014
1 ARP, HANS. Die Wolkenpumpe. (Sammlung “Die Silbergäule.” Band 50-51 [vere 52/53].) (28)pp. Sm. 4to. Orig. wraps., printed in black with a cover design by Arp. “Cloud-Pump,” Arp‘s first book of verse. Some of the poems were written as early as 1911; read at the Dada soirée at the Salle Kaufleuten, 9 April 1919, they were first published in “Dada 4-5: Anthologie Dada.” A little light creasing and wear. Hannover (Paul Steegemann), 1920. $2,500.00 Rolandseck 86, illus. p. 61; Bleikasten Aa15; Dada Zürich 66; Motherwell/Karpel 196; Verkauf p. 176; Pompidou: Dada 1213, illus. p. 908; Wilpert-Gühring 3; Meyer: Paul Steegemann Verlag 26
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2 BEUYS, JOSEPH & Brodmann, Jürg. Fettbriefe [Fat Letters]. Edition of 125 copies. 5 sheets of letterhead stationery for the Stiftung zur Förderung der Kuenste (and Fundaziun per Promover igl Art), each stained with fat, and each signed in full by Beuys in blue ink at lower right; each numbered IV/2.2-097/125 in pencil on the verso. Together with: “Zertificat bezüglich Opus Nr. IV/2.2. - 097/125,” an elaborate formal certificate with mounted embossed paper seal, fully signed by Beuys in black ink, and signed twice by Brodmann and dated 24. September 1973 1.37 in his hand. Sheet size: 295 x 208 mm. (ca. 11 5/8 x 8 1/4 inches). Loose guards (blank second sheets of stationery). Heidelberg (Edition Staeck), 1973. $4,500.00 Schellmann 77
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2 BOMBERG, DAVID. Russian Ballet. 6 original color lithographs on cream wove stock, with text on versos, constituting the full suite of prints, without the original wrappers and one unillustrated leaf of text. Sm. 4to. Edition estimated at about 100 copies, printed by the artist himself. A special copy, presumably a proof, in which line versions of two of the lithographs appear on the versos of two plates, presenting a reversed monochrome state of the prints without the addition of color. We have no record of other copies with these show-through black-and-white images, which amplify the structure of Bomberg’s compositions. “Bomberg’s work was in his ‘constructive-geometric’ style which he had developed before 1914. The drawings were apparently done before the war and lithographed at the time of Diaghilev’s visit to London with his ballet. The dealer Jacob Mendelsen brought Diaghilev, Bomberg and Henderson, the owner of the Bomb Shop, together to plan the publication, and financed it himself. Bomberg stated that he printed the lithographs himself with his own blank verse poems in seven printings, and that the abstract drawings had been done on the inspiration of the ballet itself. Diaghilev objected to Bomberg’s efforts to sell the publication like a programme at 2s.6d. a time” (Manet to Hockney). The book is arranged as a sequence of double-page compositions of text and image. “Methodic discord startles.../ Insistent snatchings drag fancy from space,/ Fluttering white hands beat — compel. Reason concedes./ Impressions crowding collide with movement round us — / — the curtain falls — the created illusion escapes./ The mind clamped fast captures only a fragment, for new illusion.” Two of the images are printed vertically on the page, though evidently conceived as horizontal, as indicated by the artist's initials. The plates presented in a single mat to show the lithographs. A few smudges on title-page, a few edges slightly creased, generally clean and crisp. London (Hendersons), 1919. $8,500.00 Castleman p. 143; Manet to Hockney 46; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pp. 90, 94 illus. 87
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4 BRECHT, GEORGE. Nectarine. An assemblage comprising ten experimental meetings on 10 Tuesdays at 9AM beginning June 12 at 80 Jefferson St. New York City. Folding mimeographed circular, printed on recto only, enclosed with a printed card in a small envelope. Circular: 215 x 138 mm.(ca. 8 1/2 x 5 1/2 inches). Envelope: 100 x 165 mm. (3 5/8 x 6 1/2 inches). “Brecht also stored work and tested out events at a loft-space he shared with his friend Robert Watts in New York.... Since New York offered many more sympathetic participants close at hand, the Jefferson Street loft was an ideal site for a series of events Brecht called ‘Nectarine.’ He advertised this as ‘ten experimental meetings on 10 Tuesdays’ with ‘involvement by sending $29 and two solutions to the anagram NECTARINE.’ This call for the participation of friends in New York was the beginning of a collaborative turn in Brecht’s conception of his work” (“George Brecht Events: Eine Heterospektive”). Following the announcement details on the flyer is the text “J. doors cat/ play glass hat/ coffee hearts/ moisture eyes/ chairs letters/ air diamonds/ nothing talk/ shuffling horn/ mirrors trains/ telephones/ oranges.” The accompanying score card, irregularly shaped, is imprinted “suppose / sup pose” on one side; on the other, printed in orange, is the letter D surrounded by a dizzying field of concentric circles. This example is hand-addressed by Brecht to E.M. Plunkett, a mail art collector, in New York City, and postmarked May 18, 1962. Another example illustrated in the foregoing, addressed to the Fluxus artist Albert M. Fine, is also postmarked on this day. Small coffeestain on the flyer. Rare. Metuchen, N.J., 1962. $650.00 Robinson, Julia: George Brecht Events: Eine Heterospektive. Hrsg. v. Alfred M. Fischer (Museum Ludwig, Köln, 2005), no. 75, illus. p. 99; Gagosian Gallery: George Brecht: Works from 1959-1973 (London, 2004), p. 70
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5 BRECHT, GEORGE & WATTS, ROBERT. Maytime. [Yam Festival Calendar. Maytime/Yam Time.] Double-sided broadside graphic calendar, printed in blue and green on white stock. 558 x 215 mm. (circa 22 x 8 1/2 inches). Prof. illus., with photocollages and freehand illustrations, appropriated nineteenth-century and modern commercial advertisements, typographic caprices, and other elements. A calendar of events and recommended activities for the May 1963 Yam Festival, edited and designed by Brecht and Watts. Featured--on Clock Day, Box Day, Yam Hat Sale, Balloon Day, Necktie Day, Water Day, Food Day, Key Day and others-- was a hectic agenda spread across New York and New Jersey throughout the month. “Yam Day,” at the Hardware Poet’s Playhouse over the weekend of 11-12 May, included performances and projects by George Brecht, Robert Breer, John Cage, Robert Filliou, Red Grooms, Rudy Burckhardt, Al Hansen, Dick Higgins, Ray Johnson, Joe Jones, Alison Knowles, George Maciunas, Jackson Mac Low, Ben Patterson, Yvonne Rainer, Stan Vanderbeek, Robert Watts, James Waring, Diane Wakoski, Emmett Williams, LaMonte Young and others; another major event, “Segal’s Farm,” was held on the 19th, “with a Happening by Allen Kaprow, dance by Yvonne Rainer, Decoll/age by Vostell, Music by LaMonte Young, + All Kinds of Trouble by Dick Higgins” at the New Jersey farm of the sculptor George Segal. An incunable of Fluxus, predating George Maciunas’ return from West Germany. Folded, presumably as mailed. Recto a little browned in one portion, otherwise very fine. [New York, 1963]. $2,000.00 Happening & Fluxus 01.05.63--31.05.63; Milman, Estera (ed.): Fluxus: A Conceptual Country (Visible Language, Vol. 26, No. 1/2, 1992), p. 239
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6 BRETON, ANDRÉ. Le surréalisme et la peinture. Suivi de ‘Genèse et perspective artistiques du surréalisme,’ et de fragments inédits. 203, (1)pp., 69 plates (5 color). 4to. Dec. cloth. Breton’s text is brought quite up to date, with commentary on Kahlo, Lam, Donati, Cornell and, especially, Gorky, among others. Martica Sawin notes that to promote this new edition, Enrico Donati, together with Duchamp and Matta, installed a special display in the window of Brentano’s flagship store on Fifth Avenue, including a three-dimensional version of the Magritte on the cover. An historic presentation copy, inscribed “A James Johnson Sweeney/ nôtre meilleur compagnon d’armes, hommage très amical d’/ André Breton/ New York 1er octobre 1945” in blue ink on the half-title. Sweeney, distinguished curator at the Museum of Modern Art and later director of the Guggenheim, was, in the war years, a friend and ally of the European surrealist exile community in New York, and wrote extensively on Surrealist topics (having also served as editor-in-chief of “Transition” in earlier years). New York (Brentano’s), 1945. $1,500.00 Sheringham Aa360; Pompidou: Breton p. 363; Gershman p. 9; Sawin p. 376; Rubin 138; Milano p. 655
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7 (BRETON) BATAILLE, GEORGES, ET AL. Un cadavre. (4)pp. (single sheet folding), printed on blue paper. Halftone cover illustration of Breton in a crown of thorns. 368 x 318 mm. (ca. 14 1/2 x 12 1/2 inches). Folio. Self-wraps. A vitriolic group denunciation of Breton, brought together in January 1930 by Georges Bataille, in response to Breton’s excoriation of his review “Documents.” “Those denounced and excommunicated in the ‘Second Manifesto,’ most of whom had already left the movement at least by the spring of 1929, were followed by others, like Prévert and Queneau, who had subsequently contributed, even briefly, to ‘Documents.’ Bataille masterminded the pamphlet ‘Un cadavre’ (ironically modeled on the surrealists’ 1924 pamphlet of the same name attacking Anatole France), which is a bitter denunciation of Breton, pictured in the front as a martyred Christ, and is signed by the dissident surrealists, Limbour, Morise, Baron, Leiris, Queneau, J.A. Boiffard, Robert Desnos, Jacques Prévert, and Bataille himself. Outraged as many were by their treatment in the ‘Second Manifesto,’ others recognized the necessity of getting out from Breton’s shadow, breaking his almost paternal dominance. As Leiris wrote in ‘Documents’: ‘Strange vermin we are, still fastening ourselves under the armpit of genius” (Dawn Ades). A rare example printed on blue stock. A fine copy of this fragile publication. Paris, [1930]. $2,500.00 Gershman p. 56; Ades p. 235; Biro/Passeron p. 48; Jean: Autobiography p. 236; Gershman: The Surrealist Revolution in France p. 147; Milano p. 650; Pompidou: Breton p. 194
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8 BULLETIN INTERNATIONAL DU SURRÉALISME. Nos. 1-4 (all published). 4to. Self-wraps., stapled as issued. Fine fitted slipcase and chemise by Devauchelle (black boards, silver label at spine). A complete set, including the sensationally rare No. 2, published in Santa Cruz de Tenerife in October 1935, of which virtually the entire printing seems to have been lost. Remarking on this “inaccessible et mythique numéro,” the Breton sale catalogue of 2003 reported that “d’après Benjamin Péret, la quasi totalité de son tirage contenu dans une valise se trouverait quelque part au fond de l’océan. De la plus insigne rareté.” Contents of the set as follows: No. 1: Bulletin international du surréalisme. Publié par le Groupe surréaliste en Tchécoslovaquie. Prague, le 9 avril 1935./ Mezinárodní buletin surrealismu. Vydala Skupina surrealistu v CSR. Praha, 9. duben 1935. 12pp. 4 illus., Styrsky, Toyen and Makovsky. Parallel texts in Czech and French. With extensive quotation from Breton and Eluard, who, at the invitation of the Czech group, visited Prague early in 1935, where they were lionized by the Communist Party press. Declarations by Vítezslav Neval and others; illus. of work by Styrsky and Toyen. No. 2: Boletín internacional del surrealismo. Santa Cruz de Tenerife, octubre 1935. Publicado por el grupo surrealista de Paris y “Gaceta de Arte” de Tenerife (Islas Canarios). 9, (1)pp. 5 illus. Parallel texts in Spanish and French. “In May, 1935, another invitation was extended to the Paris surrealists, this time from friends of Oscar Dominguez in Tenerife who for four years had been publishing a review of modern art, ‘Gaceta de Arte.’ Breton and Péret went to the Canaries, and met Eduardo Westerdahl, the director of the review, and the poets Domingo Pérez Minik, Domingo Lopez Torres, Pedro Garcia Cabrera and Agustin Espinoza. ‘Gaceta de Arte’ organized an exhibition at the Ateneo Gallery of paintings, water-colours, drawings, collages, engravings, and photographs.... Conferences were held, and Buñuel and Dalí’s film ‘L’Age d’Or’ was shown. A second bilingual edition of the ‘International Surrealist Bulletin,’ this time in Spanish and French, appeared in October 1935 at Santa Cruz de Tenerife, dealing with the same issues--the relationship between art and revolution--as the Czech number. It contained reproductions of ‘The Hunter’ by Dominguez, and ‘The Death of Marat,’ an engraving by Picasso for a collection of poems by Benjamin Péret” (Marcel Jean). No. 3: Bulletin international du Surréalisme. Publié à Bruxelles par le Groupe surréaliste en Belgique, 20 aoùt 1935. 8pp. 3 halftone illus. Opening with a manifesto protesting the Franco-Soviet pact, “Le couteau dans la plaie,” signed by 14 subscribers, including René Magritte, E.L.T. Mesens, Paul Nougé, Jean Scutenaire, André Souris, Achille Chavée, Fernand Dumont, Marcel Lecomte and Max Servais; followed by the text of Breton’s speech to the Congrès des Écrivains pour la défense de la Culture--which, notoriously, he had been prevented from reading. “There was now a clear political accord between the [Paris and Brussels] groups, underlined by Nougé, Scutenaire and Souris, which claimed, as did Breton, that revolutionary action was possible outside the Communist Party” (Ades). No. 4: International Surrealist Bulletin. Issued by the Surrealist Group in England. September 1936. 18, (2)pp. 11 illus. Texts by Herbert Read and Hugh Sykes Davies; bulletin “read and approved” by Agar, Breton, Burra, Davies, Éluard, Gascoyne, Jennings, Mesens, Moore, Nash, Penrose, Man Ray, Read, Todd and others. The first surrealist periodical in England, following on the International Surrealist Exhibition opened by Breton at the New Burlington Galleries in London in the summer of 1936. A little unobtrusive browning in No. 2; a very fine set.
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Praha/ Santa Cruz de Tenerife/ Bruxelles/ London, 1935-1936. $16,500.00 Gershman p. 48; Admussen 27; Biro/Passeron pp. 361, 363; Jean p. 263f.; Reynolds p. 108; Milano p. 565f.
9 CHRISTIAN. Étages des nombres/ Ordre de grandeur. Original drawing, in pencil on vellum graph paper printed in orange (Canson & Montgolfier), with 8 lines of manuscript text in black ink below. Signed by Christian (in blue) at lower right. 216 x 277 mm. (ca. 8 1/2 x 10 7/8 inches). Matted together with this, a typed transcription of the text above, initialled by Christian at the conclusion. 80 x 200 mm. (ca. 3 1/8 x 7 7/8 inches). A mathematical abstraction by the Dada writer and artist Christian (born Georges Herbiet, Antwerp 1895 - Paris 1969). Close to Picabia, Jean Crotti and Suzanne Duchamp, Christian was intimately involved in the publication of a number of Dada reviews, contributing to “391” and “Le Pilhaou-Thibaou,” as well as to “Action,” “L’esprit nouveau” and the special Dada issue of “Ca ira”; in 1922, he also published the sole issue of Picabia’s “La pomme de pins” and Pierre de Massot’s “De Mallarmé à ‘391’” (for which he wrote the preface) from Saint-Raphaël in the south of France, where he had moved in 1920, opening a bookstore. The Pompidou “Dada” catalogue devotes a chapter to Christian’s work, featuring three similar esoteric drawings on graph paper, dated 1923-1925. All of these diagrams were made in conjunction with an aesthetic treatise on harmony which occupied him for many years, and was never completed. “Vers 1923, il travaille à un ‘Traité d’harmonie,’ un système d’esthétique globale à visée scientifique, dont il reste des études sous formes de diagrammes. Il s’essaie également à la peinture figurative; quelques-unes de ses toiles sont publiées par ‘The Little Review’ en 1922. Mais l’oeuvre de Christian est rare, l’artiste ayant été peu productif” (Nathalie Ernoult). Small hairline split at one fold; pinholes at one corner; fine condition. N.p., n.d. $6,500.00 Cf. Lista, Giovanni: Dada libertin & libertaire (Paris, 2005), p. 220; Pompidou: Dada p. 216f. (text by Nathalie Ernoult, with 5 illus.)
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10 LE COEUR À BARBE. Journal transparent. Gérant: G. Ribemont-Dessaignes. No. 1, avril 1922 [all published]. (8)pp., printed on pale pink stock. Sm. 4to. Orig. self-wraps., with typographic and wood-engraved collage composition. Texts by Duchamp (“Rrose Sélavy”), Éluard, Fraenkel, Huidobro, Josephson, Péret, Ribemont-Dessaignes, Satie, Serner, Soupault and Tzara. A counterattack launched by Tzara following Picabia’s insulting “La pomme de pins” of the previous month; one more missile hurled during the spring of 1922, which Breton was later to comment witnessed the ‘obsequies of Dada.’ The cover design is one of the best-known and most appealing graphic inventions of Paris Dada; in the National Gallery of Art “Dada” catalogue (2006), it is attributed to Iliazd. Clean splits at backstrip; a fine copy. Paris (Au Sans Pareil), 1922. $5,000.00 Dada Global 182; Ades p. 147f. (illus.); Almanacco Dada 26; Gershman p. 48f.; Chevrefils Desbiolles p. 282; Admussen 58; Sanouillet: Dada in Paris (Cambridge, 2009), no. 679; Motherwell/Karpel 64; Dada Artifacts 138; Verkauf p. 177; Düsseldorf 234; Zürich 369; Milano p. 648; Pompidou: Dada, 1356, illus. pp. 282, 703; Washington: Dada, fig. 361; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 136, illus. 144
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11 (DUBUFFET) Paris. Galerie Nina Dausset. Vernissage samedi 4 février à partir de 15 h. vous êtes invité à visiter l’exposition de: La Métromanie ou Les Dessous de la Capitale, par Jean Paulhan, calligraphié et orné de dessins par Jean Dubuffet, à la galerie Nina Dausset... du 4 au 24 février 1950. Offset lithograph, printed in black on bright pink tissue. 330 x 213 mm. (ca. 13 x 9 3/8 inches). Verso blank. A superb copy, bright and fresh. Paris, 1950. $950.00 Webel, Sophie: L’oeuvre gravé et les livres illustrés par Jean Dubuffet (Paris, 1991), no. 174
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12 DUBUFFET, JEAN & Martel, André. Le Mirivis des Naturgies. (48)pp. 16 full-page original lithographs by Dubuffet (including 2 on the front wrapper and slipcase). Contents loose, as issued. 4to. Orig. dec. wrappers, with cover lithograph, in publisher's dec. box (with mounted cover lithograph) and chemise. One of 110 copies, signed and numbered by Dubuffet and Martel in the justification, from the limited edition of 116 in all, on Auvergne paper. One of Dubuffet’s most beautiful and appealing books. As was the case with many of his books, the text is lithographed from his handwritten manuscript. “In 1958, Dubuffet began a large series of lithographs called ‘Phénomènes,’ which he has described as ‘a continuous surface magnifying the textures of the earth, sky, wind and water. His friend André Martel wrote this text to accompany a selection of the lithographs, and some of it was set in type. Dubuffet suggested replacing the printed text with a calligraphic one, and he wrote it out in block capitals, to be lithographed on his own press. He then created additional lithographs for ‘Le mirivis des naturgies,’ thus separating it from the ‘Phénomènes’ series, though it is similar in manner” (Garvey/Wick). “Dubuffet can always be relied on for a suprise, and his sixteen lithographs for ‘Le Mirivis des Naturgies’ (1963) keep pace with his development as a painter. One should preface any description of them by observing that the text consists of poems by André Martel, described as ‘en langage ‘paralloïdre’--an epithet coined for a pataphysical occasion. They are suitably hand-transcribed by the artist himself in the style familiarized by his early ‘livre manuscrit,’ ‘Métromanie’” (Strachan). A fine copy. Paris (Alexandre Loewy), 1963. $17,500.00 Webel 825-868; Loreau pp. 227-233 nos. 1-21; Johnson, Robert Flynn: Artists’ Books in the Modern Era 1870-2000, no. 147; Splendid Pages p. 178; Strachan p. 331; Garvey, Eleanor M. & Wick, Peter A.: The Arts of the French Book, 1900-1965 (Dallas, 1967), no. 68
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13 (DUCHAMP) Breton, André & Duchamp, Marcel (editors). Le surréalisme en 1947. Exposition du Surréalisme, présentée par André Breton. 139, (3)pp., 44 collotype plates with numerous illus., and 24 original prints hors texte, as follows: 5 original color lithographs by Brauner, Ernst, Hérold, Lam and Miró; 5 original etchings (1 color) by Bellmer, Jean, Maria, Tanguy and Tanning; 2 original woodcuts by Arp; and 12 lithographs in black by Brignoni, Calder, Capacci, van Damme, de Diego, Donati, Hare, Lamba, Matta, Sage, Tanguy and Toyen. Lrg. 4to. Plain paper wraps. Chemise: pink boards, mounted with a tinted foam-rubber Readymade breast construction by Duchamp, encircled by a hand-trimmed black velvet cut-out. One of 950 numbered copies from the limited edition of 999 on vélin supérieur, constituting the deluxe tirage of the catalogue, the etchings printed by Lacourière, the lithographs by Mourlot frères. Apart from this was also a regular edition, unnumbered, issued in paper wrappers without the original lithographs, and without the Duchamp multiple that houses the deluxe catalogue. “Back in New York, Duchamp came up with an idea for the cover, which to a certain measure was derived from the collage he had made for the catalogue of the First Papers of Surrealism exhibition in 1942: a woman’s bare breast encircled by a swath of black velvet fabric entitled ‘Prière de toucher’ (‘Please touch’). For the regular edition, a black-and-white photograph of this subject was prepared in accordance with Duchamp’s instructions by Rémy Duval, a photographer from Rouen best known for a book of nudes published in Paris in 1936. For the deluxe edition, actual foam rubber falsies were painted and glued to a pink cardboard cover by Duchamp with the assistance of the American painter Enrico Donati. ‘By the end we were fed up but we got the job done,’ Donati later recalled. ‘I remarked that I never thought I would get tired of handling so many breasts, and Marcel said, ‘Maybe that’s the whole idea’” (Naumann). This copy is without the “Prière de toucher” label that usually appears on the other panel of the chemise. The chemise is from the estate of Enrico Donati, Duchamp’s collaborator on the work, and it is in extremely fine condition, the breast and surrounding support bright and fresh. It is also complete with the original box, which is often lacking. Copies in this condition are quite rare. Paris (Pierre à Feu/ Maeght), 1947. $35,000.00 Schwarz 523; Naumann 6.23, p. 164f.; Lebel 191; d’Harnoncourt/McShine 164; Sheringham Aa383; Gershman p. 9; Ades 15.61; Rubin 425; Reynolds p. 20; Milano p. 656; Mundy, Jennifer (ed.): Surrealism: Desire Unbound (London/New York, 2001), p. 282 illus. 271; Castleman p. 232; Manet to Hockney 115; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 344 illus. 448
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14 ERNST, MAX & Éluard, Paul. A l’intérieur de la vue. 8 poèmes visibles. 113, (15)pp. 39 illus. (after collages of steel- engravings), of which 7 delicately colored by hand in blue, yellow, rose, and redwashes. Initial letters and subtitles in purple throughout. Dec. wraps., printed in purple, red and orange after a design by Ernst. One of 600 copies on Alma Marais, from the limited edition of 610 in all, the illustrations printed by Mourlot Frères. “Les 8 poèmes visibles de Max Ernst composés en 1931 ont été, aussi fidèlement que possible, illustrés par 8 poèmes visibles de Paul Eluard en 1946” (from the justification statement). “For Ernst and the poet Paul Éluard, the eye represented what they called the ‘interior of seeing,’ a phrase that can be read as a metaphoric description of Surrealist aesthetics. They used the phrase in the title “A l’intérieur de la vue: 8 poèmes visibles” (The Interior of Seeing: Eight Visible Poems), a book created in 1931 and published in 1947, which also includes a dreamlike image of two rows of eyes facing each other. In 1934 the same phrase and image then appeared in the collage novel ‘Une semaine de bonté’” (Andel). Backstrip lightly browned; a fine copy. Paris (Pierre Seghers), 1947. $2,750.00 Hugues/Poupard-Lieussou 20; Spies/Metken 1808-46; Spies: Max Ernst Collages 407-425; Rainwater 31; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 14; Beyond Painting 70; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 328f., no. 432 (full-page color plate).
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15 FRANK, ROBERT. The Americans. Introduction by Frank Kerouac. (2), vi, (2)pp., 83 gravure plates. Oblong 4to. Cloth. D.j. First American edition (following the publication of “Les américains” by Robert Delpire in Paris in 1958), and the first edition to contain the Kerouac introduction. “Frank first wanted William Faulkner to write the introduction; then [Walker] Evans agreed to do it. But Frank’s old friend Robert Delpire in Paris thought it needed a different approach, and the French and American editions of this classic turned out to be two very different books. The Delpire first edition...is more like a sociological study, wherein Frank’s photographs appear as illustrations of the probing texts printed on facing pages, gathered by Alain Bosquet from dozens of illustrious writers.... When Barney Rosset at Grove Press agreed to publish ‘The Americans’ in the U.S., Frank pulled out all the text, leaving only blank pages with captions facing the images, mirroring the layout of Evans’ ‘American Photographs.’ To replace all the words in the French edition, Frank includes only Jack Kerouac’s bop intro” (Roth). D.j. with tears and creases at top and bottom edges, with small losses; foot of binding slightly scuffed at bottom edge. New York (Grove Press), 1959. $8,000.00 Roth p. 150f.; The Open Book p. 176; Parr, Martin & Badger, Gerry: The Photobook: A History. Vol. I, p. 247
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15 (FLUXUS) Fluxus Preview Review. Editorial Committee: Chairman: George Maciunas. Cross Section: Nam June Paik, Emmett Williams. U.S. Etc. Vertical scroll, printed in offset (both recto and verso) on three joined strips of coated stock, with text and 7 halftone photographic illus. 160 x 10 cm. (ca. 65 1/2 x 3 7/8 inches). 1672 x 99 mm. (65 x 3 7/8 inches). Rolled as issued. “‘Fluxus Preview Review,’ a preview of the ‘Review’ (Anthology) Fluxus, served as a kind of first Fluxus newspaper and propaganda vehicle. It contains a definition of the word FLUXUS, a list of the editorial committee, advertisements for Fluxus Yearboxes and Fluxus products, scores by a number of Fluxus artists and photographs of performances. George Maciunas, who edited and designed the work, took its format from the November 1961 publication ‘Kalender Rolle,’ edited by Ebeling and Dietrich in Wuppertal, West Germany” (Jon Hendricks). Other members of the editorial committee (listed by national sections) include La Monte Young, Jackson Mac Low, Dick Higgins, Benjamin Patterson, Jonas Mekas, Daniel Spoerri, Jean Clarence Lambert, Henry Flynt, Toshi Ichiyanagi, Yoko Ono, Heinz-Klaus Metzger, and Arthur Køpcke. A Fluxincunable. A fine copy. Köln-Mulheim, n.d. [1963]. $800.00 Hendricks: Fluxus Codex p. 102f.; Silverman 542; Phillpot/Hendricks 11
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17 DIE FREIE STRASSE. NR. 9 NOVEMBER 1918. “Gegen den Besitz!” [Editors: Raoul Hausmann and Johannes Baader.] (4)pp. (single sheet, folding). Front page with massive block, tilted on the diagonal, printed in black. Tabloid folio, folded as issued. Texts by Raoul Hausmann (“Gegen den Besitz!,” uncredited), Johannes Baader (“Die Geschichte des Weltkrieges,” under the pseudonym Joh. K. Gottlob), Karl Radek (“Revolution und Konterrevolution”), et al. “That psychoanalytic ideas were acceptable to Dadaists in Berlin was consistent with their adherence to systematic politics, which Dadaists in France, Switzerland and America rejected. Even so it was not Freudian psychoanalysis that interested Dada in Berlin, but a psychotypology that was based on the researches of Otto Gross as systematized in 1916 by Franz Jung...who, the following year, founded the review “‘Die freie Strasse’ to propagate these views. It became the first voice of Dada in Berlin” (Rubin). A brilliant copy, fresh and crisp. Berlin-Friedenau (Verlag Freie Strasse), 1918. $4,500.00 Dada Global 27; Almanacco Dada 59; Bergius p. 414; Dachy, Marc: Archives dada/ chronique (Paris, 2005), p. 131f. (illus.); Dada Artifacts 35; Pompidou: Dada 1369, illus. p. 125; cf. Ades 4.64, Raabe 26, Rubin p. 10
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18 GIBBONS, JOE & ZANE, JOE. [Faux Parkett] “Parkett. No. 81.” [By] Joe Gibbons, Joe Zane. (1), 126, (37)pp. Prof. illus. (numerous color). 4to. Wraps. Edition limited to 20 copies, plus 3 artist’s proofs, signed and numbered by the artists on the spine, together with a hand-signed printed statement to this effect by Joe Zane on his stationery, loosely inserted. Texts by the artists, Randi Hopkins, and Tony Conrad. A collaborative artists’ book by Gibbons and Zane, in the form of a faux issue of “Parkett” devoted to their work. Extremely droll (including a mechanically translated parallel text in German, yielding results such as “Joe Gibbonen”), the work is also brilliantly realized from a technical point of view. The video artist and filmmaker Joe Gibbons--whose work has been shown in three Whitney Biennials, and at the Museum of Modern Art, Centre Pompidou, and the Reina Sofia--is on the faculty of the MIT Visual Arts Program; Joe Zane--whose faux Phaidon Monograph was published in 2006, in an edition of 5 copies--is director of production at the MIT Center for Advanced Visual Studies. [Cambridge (The Artists)], 2008. $2,000.00
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19 GROPIUS, WALTER, ET AL. Staatliches Bauhaus Weimar, 1919-1923. 224, (2)pp. 147 illus., including 20 color plates, of which 9 are original color lithographs by Herbert Bayer, Marcel Breuer, L. Hirschfeld-Mack (2), P. Keler and W. Molnár, R. Paris, K. Schmidt (2) and F. Schleifer. Lrg. sq. 4to. Orig. dec. black boards, printed in red and blue. Typography by László Moholy-Nagy; binding design by Bayer. One of 2000 German-language copies, from the edition of 2600 in all. Texts by Gropius (“Idee und Aufbau des Staatlichen Bauhauses”), Klee, Kandinsky, Moholy-Nagy, Schlemmer and Grunow. The first book published by the Bauhaus, preceding the Bauhausbücher proper of 1925 and after; Bayer’s brilliant front cover design is fittingly proclamatory. The work was issued on the occasion of the great Weimar Bauhaus exhibition of 1923, organized at the behest of the Thuringian Legislative Assembly, which wished to have a public display of the accomplishments of the first four years. Gropius set the theme as ‘Art and Technics: A New Unity.’ Expertly rebacked; pale tidemark at lower right corner of first several leaves; the brilliant Bayer cover design in nice condition. Weimar/München/Köln (Bauhausverlag/ Karl Nierendorf), 1923. $7,500.00 Wingler p. 627; Fleischmann p. 80f.; Das A und O des Bauhauses p. 67, nos. 52-53; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 244; Franklin Furnace 115; The Avant-Garde in Print 4.2; Minneapolis p. 88f.
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20 HAMAYA, HIROSHI. Album of Photographs of Junichiro Tanizaki. Leporello of 30 panels (versos blank), with 24 mounted silver gelatin print photographs. The prints are in the following formats: 8 x 12cm (1); 12 x 17.5cm (1); 16 x 22.5cm (18); 20 x 30cm (4). Tissue guards. Folio. 360 x 235 mm. (14 1/4 x 9 1/4 inches). Brocade over heavy boards, with manuscript calligraphic title. Outer cloth folding case (silk over heavy boards with bone clasps). Fine sandalwood presentation box. Outer cardboard case. The 24 vintage gelatin silver prints in this album of the great Japanese novelist Junichiro Tanizaki were commissioned of Hiroshi Hamaya by the monthly review "Chuokoron" in 1954. Tanizaki was living in Kyoto then. Hamaya visited Tanizaki at his home, and photographed him at work, relaxing in the garden with his family, and drinking at a traditional Japanese restaurant at Ichriki-jyaya, Gion. This carefully composed and artistically designed album was made by Hamaya himself, and offered to Tanizaki as a gift. The manuscript title "Portraits of TANIZAKI Jun-ichiro" is written in ink and brush by Hamaya, and the album is signed by him at the end, with the note "taken at the end of October, 1954." Hamaya's seal is present at the begining of the album. The photographer Hiroshi Hamaya (1915-1999) was especially renowned for his portraits of scholars and artists. Hamaya is currently the subject of an exhibition at the J. Paul Getty Museum, "Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto" (March-August 2013). Accompanied by a certificate from the Hamaya Hiroshi Estate. Fine condition. Provenance: Junichiro Tanizaki. [N.p., 1954]. $70,000.00 Hiroshi Hamaya. Gakugei Shoka (Tokyo: Iwanami Shoten, 1983), reproduced on pp. 78, 79, 80.
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21 KEPES, GYORGY. Gyorgy Kepes: 12 Photographs. Introduction by Philip Hofer. 4ff. title (printed in red and black), introduction, table and colophon. 12 original gelatin silver print photographs, each signed in full and dated in pencil by Kepes, and each numbered, on the verso, and each archivally mounted in passepartout mats. Image sizes vary, but all are printed on silver paper measuring ca. 8 x 10 inches (ca. 250 x 200 mm.). Portfolio. Publisher’s pale brown linen clamshell box, gilt. All content loose, as issued. One of 20 hand-numbered portfolios from the edition of 25 in all, including 5 artist’s proofs. Completed in March 1977, the portfolio was published by Mary Pratt of Vision Gallery, in collaboration with Nancy and Tom House; the project editor was Brent Sikkema. The photographs were printed and processed to archival standards by Chris Enos under the supervision of Gyorgy Kepes. The letterpress was designed and printed by Katy Homans. The photographs date from Kepes’s Chicago years, 1938 to 1943, with one more from Cambridge, 1948 (and Kepes has dated them using the year of their conception). They include some of his most iconic images, including “Juliet’s Shadow Caged” (1938), “Eyes” (circa 1941), “Hieroglyphic Body” (1942) and “Fluid Patterns” (1942). “These photographs encompass overtones and undertones that even the remarkably composite American population cannot decipher at once. The prints have an immediate impact indeed. Still they must be studied for further meaning. A predominating strain that strikes this one out of a his multitude of admirers is his comprehension of the fundamental calligraphy behind all art as well as language. Yet there are mirages and powerful surface tensions directed at other facets of our comprehension. This multi-leveled richness is evident as much in his paintings as in his photographic work” (Philip Hofer). A very fine copy. Complete copies are quite rare. Boston (Vision Gallery of Photography), 1977. $15,000.00
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22 (LÉGER) Cendrars, Blaise. J’ai tué. Prose par Monsieur Blaise Cendrars et 5 dessins de Monsieur Fernand Léger. (34)pp. 5 compositions by Léger, including 2 hors texte and 1 on front cover, printed in red and blue (the cover with orange pochoir) . Text printed in red. Sm. sq. 4to. Orig. wraps., with front cover pochoir composition by Léger in blue and yellow. One of 300 numbered copies on uncut vergé à la forme, from the limited edition of 353 in all. Typography and printing by François Bernouard, A La Belle Édition. “In August 1914, Fernand Léger was mobilized as a sapper in the Engineers Corps. After being gassed at Verdun on the Aisne front, he was hospitalized until his discharge in January 1918. With the war experience lingering in his mind as a source of imagery, Léger’s first project upon recovery was the creation of illustrations for “J’ai tué” (‘I have killed”). This small anti-war book was written by Cendrars who, as a corporal on the Somme, had lost an arm in the Champagne offensive of September 1915. Cendrars laments the stupidity of war, describing how the world’s resources are mobilized to support all men, and ends the work with a ruthless confrontation between two men: ‘Eye for eye, tooth for tooth. It’s up to us two, now. To blows with fist, to blows with knife. No mercy. I leap on my antagonist. I give him a terrible blow. His head is almost cut off. I have killed the Boche. I was more lively and rapid than he. More direct. I struck first. I have the sense of reality, I poet. I have acted killed. Like him who would live.’ Boldly printed in blue and red, evoking the French tricolor, the book reproduces, photomechanically, five drawings executed by Léger at Verdun in 1918. Though not specifically drawn as companions to the prose-poem, these dehumanized war images match the brutal action and are visually equivalent to Cendrars’ powerful, machine-gun writing. The use of inexpensive stenciling to superimpose the title in yellow on the blue cover plate was probably Cendrars’ suggestion since Sonia Delaunay had used this technique in 1913 for their successful collaboration, ‘La prose du Transsibérien et de la Petite Jehanne de France’” (Donna Stein, in “Cubist Prints/ Cubist Books”). “Just how important Cendrars was as a contact between pre-war simultaneity and the Léger of 1918-19 is demonstrated by the fact that Léger’s friendship with the poet was articulated by experiments in book illustration which are in some ways complementary to the first ‘simultaneous book,’ that among his first attempts to combine ‘poetic’ images without regard for the unities of time and place were the illustrations for ‘J’ai tué’...” (Christopher Green, in “Léger and Purist Paris”). Both text and illustrations were published in “Der Sturm” (No. 7, 1919), and, in an English translation, in “The Plowshare” (May/June 1919). An epochal book. Rare. Partly unopened. A beautiful copy, exceptionally bright and fresh. Paris (A La Belle Edition), 1918. $12,500.00 Saphire p. 299; Cubist Prints/ Cubist Books 62, p. 64 (and back cover illustration); Siena 51 (and front cover illustration); The Cubist Print 122, p. 55; Skira 197; Peyré, Yves: Peinture et poésie 14; Andel, Jaroslav: Avant-Garde Page Design 1900- 1950, nos. 94-95; Winterthur 112; Paris/Berlin 206; Franklin Furnace 35; Tate Gallery: Léger and Purist Paris (1970), p. 43
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23 LEWITT, SOL. Grids, using straight lines, not-straight lines & broken lines in all their possible combinations. [Grids.] 28 etchings. (4)ff., 28 original etchings, each initialled in pencil by the artist on the verso, printed on Rives BFK. 270 x 270 mm. (10 5/8 x 10 5/8 inches). Tissue guards. Lrg. sq. 4to. (285 x 285). White silk over boards, stamped in black. Paper slipcase (slightly abraded). Edition limited in all to 25 copies and 10 artist’s proofs, signed and numbered by LeWitt in pencil in the center of the last leaf. Printed by Kathan Brown at the Crown Point Press, Oakland. “Departing from his other offset- printed books, LeWitt’s Crown Point books are beautifully hand printed and bound. ‘Grids...’ holds twenty-eight full page etchings. The progressions are listed first, from combination number one (‘Straight/Straight’) through number twenty-eight (‘Straight, Not-Straight, Broken/Straight, Not-Straight, Broken’). The cut of the etched lines into the soft paper (the lines which at first glance appear straight, and then on closer inspection reveal their freely drawn character), produce a vital page design and pleasurable viewing experience. A hand printed and bound LeWitt exerts a stronger sense of weight and permanence that creates a bridge between the intuitive idea guiding his books, and a stronger, more engaging contact sustained by the viewer while paging through LeWitt’s system” (Minneapolis). A fine copy. New York (Parasol Press Ltd.), 1973. $20,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.03; Minnesota Center for Book Arts: Pick up the book, turn the page and enter the system: books by Sol LeWitt (Minneapolis, 1988)
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24 LEWITT, SOL. The Location of Six Geometric Figures (Circle, Square, Triangle, Rectangle, Parallelogram and Trapezoid). Six etchings. Title/colophon leaf, and 6 original etchings, each signed and numbered in pencil, printed on Rives BFK, loose as issued. 608 x 507 mm. (24 x 19 7/8 inches). Tissue guards. Lrg. folio. (625 x 525 mm.). Publisher’s black cloth box. Edition limited to 25 copies and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. New York (Parasol Press Ltd.), 1975. $12,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1974.01
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25 LEWITT, SOL. Three Kinds of Lines & All Their Combinations. 1. Straight lines, 2. not-straight lines. 3. broken lines, 4. alternate straight & not-straight lines, 5. alternate straight & broken lines, 6. alternate not-straight & broken lines, 7. alternate straight, not-straight & broken lines. Seven black & white etchings. Title/colophon leaf, and 7 original etchings, each signed and numbered in pencil on the verso, printed on Rives BFK, loose as issued. 692 x 540 mm. (27 1/4 x 21 1/4 inches). Lrg. folio (710 x 555 mm.). Publisher’s ivory cloth box (slightly scuffed). Edition limited to 25 copies, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. New York (Parasol Press Ltd.), 1973. $15,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.01
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26 LISSITZKY, EL & ARP, HANS. Die Kunstismen. /Les ismes de l’art./ The Isms of Art. xi, (1)pp., 48 halftone plates. 4to. Dec. boards, designed by Lissitzky, printed in red, black and white. Design by Lissitzky. Parallel texts in German, French and English. Less a survey than a kind of visual directory, covering the major vanguard movements of the previous decade in pithy, densely set one-paragraph summations (many of them simply quoted statements from their leading exponents) and an album of plates loosely floated on the page in elegantly asymmetrical compositions. For its synoptic purity and particularly for Lissitzky’s typography and mise-en-page, a landmark among the books of its time. Expertly rebacked. A fine copy, the boards and interior fresh. Erlenbach-Zürich/München/Leipzig (Eugen Rentsch), 1925. $5,500.00 Nisbet 1925.2; Rowell, Margit & Wye, Deborah: The Russian Avant-Garde Book 1910-1934 (New York: Museum of Modern Art, 2002), no. 607, color plate p. 198; Getty 455; Barron/Tuchman 162; Ades 6.32; Almanacco Dada p. 500 (illus.); Dachy p. 182f. (illus.); Dachy: Archives Dada p. 533 (full-page color plate); Lista: Dada libertin & libertaire p. 198; Motherwell/Karpel 167; Verkauf p. 102; Reynolds p. 59; Pompidou: Dada 1214, illus. pp. 561, 698; Spencer p. 76f.; Andel: Avant-Garde Page Design 1900-1950, p. 165, illus. 184-185; The Avant-Garde in Print 2.8
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27 (MALEVICH) Guro, Elena, et al. Troe [The Three]. By Elena Guro, Velimir Khlebnikov, Aleksei Kruchenykh. 96pp., printed on pale green stock. 4 photomechanical reproductions of drawings by Kazimir Malevich. 1 page of musical score from the prelude to the opera “Victory over the Sun.” Sm. 4to. 195 x 180mm. (7 3/4 x 7 1/8 inches). Orig. wraps., with lithographic design and illustration by Malevich on front cover, and lithographic text in his hand on the back cover. Uncut; partly unopened. Edition of 500 copies. Poems and prose, published by Mikhail Vasil’evich Matyushin, the composer of “Victory over the Sun,” in memory of his wife, the poet Elena Guro, who had died earlier in the year. The other contributors to this book were Matyushin’s collaborators in “Victory over the Sun”: Khlebnikov had written the prologue and Kruchenykh the libretto, and Malevich had designed the sets and costumes. “For his cover for the anthology of writings and drawings, ‘Troe’ (‘The Three’; 1913), Kazimir Malevich shifted pictorial planes to dissect individual letters and created a dynamic graphic configuration by playing with different scales in letters, often incorporating hugely oversized characters. This composition anticipated the Russian avant-garde’s sculpture/constructions from the late 1910s and early 1920s, and shared with his later Suprematist paintings the effect of free-floating forms” (Andel). Provenance: Robert Shapazian, lent by him to “The Avant-Garde in Russia 1910-1930” (Los Angeles County Museum of Art, 1980). An exceptionally fine, fresh copy, the magnificent Malevich cover bright, rare thus. St. Petersburg (Zhuravl’), 1913. $6,500.00 MOMA 38; Getty 318; Compton pp. 125, 53f., 56, 78f., figs. 34, 50, 76-78; Barron, Stephanie & Tuchman, Maurice (eds.): The Avant-Garde in Russia 1910-1930 (Los Angeles, 1980), no. 174 (illus.); Lodder p. 251f.; Aus vollem Halse no. 24; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 94, ill. 83; Khnizhnaia letopis’ 1913 no. 24569
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28 MARINETTI, F.T. Les mots en liberté futuristes. 107, (9)pp., including 4 folding plates (extending, when opened, to 363 mm., or ca. 14 1/4 inches). Wraps., printed in red and black. The great masterpiece of Futurist typographic expression; the folding plates present the most famous of all parole in libertà. Backstrip silked; a fine, fresh copy, unopened. Milano (Edizioni Futuriste di “Poesia”), 1919. $3,750.00 Salaris p. 48; Falqui p. 45; Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy, p. 328; Pompidou: Dada 1261; Franklin Furnace 44; Spencer p. 24f.; The Avant-Garde in Print 1.3, 1.4, 4.1; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 104f., nos. 101, 104; Johnson, Robert Flynn: Artists’ Books in the Modern Era 31; Splendid Pages p. 189, fig. 56
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29 DER MARSTALL. Zeit- und Schreit-Schrift des Verlags Paul Steegemann. Heft 1/2 (all published). 58, (6)pp. 5 illus., including 1 full-page drawing by George Grosz. Orig. tan self-wraps., printed in red and black. A Dada almanac from the publisher of Schwitters’ “Anna Blume,” with a special feature, “Das enthüllte Geheimnis der Anna Blume” (“Briefe und Kritiken von Anonymen/ Ärzten/ Freunden und Feinden/ dada/ Unfreiwillige Beiträge von Alfred Kerr/ Theodor Däubler/ Adolf Behne/ Victor Aubertin/ Paul Fechter/ Johann Frerking/ Franz Lafaire/ u.a.”), and with other texts by “Oberdada” Johannes Baader (“Wer ist Dadaist?”), Klabund (“Dadakratie”), Richard Huelsenbeck (“Geschichte des Dadaismus”), Otto Flake (“Über Hans Arp”), Walter Serner (“Die gelösten Welträtsel”), and Melchior Vischer (“Sekunde durch hirn”), among others. There is also an unsigned report on “Die Dada-Kongresse in der Schweiz.” A notice is included advertising a projected second issue of equal interest (Edschmid, Arp, Baader, Holl and others), but “Der Marstall” ceased with its first issue. Small expert mends to the wrappers; a fine copy of this fragile issue. Rare. Hannover (Paul Steegemann Verlag), 1920. $4,000.00 Dada Global 107; Almanacco Dada 88; Motherwell-Karpel p. 162; Verkauf 102; Dada Artifacts 65; Düsseldorf 517; Zürich 384; Pompidou: Dada 1382, illus. 909.5; Raabe 91; Raabe/Hannich-Bode 288.2
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30 MASSOT, PIERRE DE. Prolégomènes à une éthique sans métaphysique, ou Billy, Bull-dog et philosophe. Orné de six illustrations de Kristians Tonny. 74, (2)pp. 6 line-drawn plates, printed in brown. 4to. Publisher’s wraps. Glassine d.j. Édition de tête: one of 10 copies on japon impérial, accompanied by a page of manuscript by Massot, signed in pen by the author and illustrator in the justification, from the limited edition of 502 in all. Massot has selected the following passage from the text for his manuscript recapitulation, in green ink on the first leaf after the half-title: “Formez les rangs! au garde à vous, subalternes, et sachez que mes tourments ne s’apparentent point aux vôtres. Barricadez votre auge et votre coffre-fort; cadenassez vos femelles; je défendrai jusqu’à mon dernier soir mon indépendance, ma pensée et mon amour. Il y a loin de la métaphysique à la boustifaille. Si, après un nuit d’orgie, l’idée de la mort vous agrippe au collet, vous pissez d’effroi sous vos draps, lâches....” Unopened. A very fine, fresh copy. Paris (Éditions de la Montagne), 1930. $1,250.00 Cf. Franklin, Paul B.: Portrait d'un poète en jeune homme bi: Pierre de Massot, Marcel Duchamp et l'héritage Dada” (in: “Étant donné,” No. 2, 1999).; A. Gervais, P. B. Franklin et G. Pfister (eds.): Bibliographie de Pierre de Massot (in: “Étant donné,” No. 2, 1999); Almanacco Dada p. 427 (illus.); Reynolds p. 98
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31 NEMOGUCE. /Nemogucé./ L’impossible. (2), 136, (4)pp. Prof. illus. Lrg. 4to. Pink wraps., printed in black. The most celebrated, and most comprehensive publication of Serbian surrealism, edited by Marko Ristic. Texts by Milan Dedinats, Mladen Dmitrijevic, Petar Popovic, Oskar Davico, Vane Zivadinovic-Bor, and Aleksandar Bucno, as well as Paul Éluard, Benjamin Péret, René Char, André Breton, Louis Aragon, André Thirion and others. Illustrations by Vane Bor, Djordje Jovanovic, Oskar Davico, Djordje Kostic, Vane Zivanovic-Noe, Rade Stojanovic, Marko Ristic, Nikola Vuco. ‘Outside France, apart from Belgium...the first countries to organize official surrealist groups were those in Central Europe and the Balkans--the countries where French influence was strongest between the two World Wars, and which had the closest ties with Paris.... In Yugoslavia, a properly constituted surrealist group existed, and in 1930 published a collection of texts and illustrations under the title of ‘Nemogoutché’ (‘The Impossible’) at the ‘Surrealist Press’ in Belgrade. This publication, which included articles by French surrealists with whom they were in correspondence... was the ‘first collective manifestation of Surrealism in Yugoslavia.’ Its appearance was not dissimilar to that of ‘La révolution surréaliste,’ and it featured a number of unusual photographs, some executed in Paris, and reproductions of pictures in tragic tones by Vane Bor, others by Zivanovitch-Noe very much influenced by André Masson, and drawings by Stoyanovitch, Jovanovitch, and Davitcho” (Marcel Jean). The double-page title composition, printed in red and black, is a work of haunting beauty. An exceptionally fine copy. Beograd (Nadrealistichka Izdanja/ Éditions surréalistes), 1930. $8,500.00 Jean, Marcel: The History of Surrealist Painting (London, 1960), p. 259; Biro/Passeron p. 299; Benson, Timothy O. (ed.): Central European Avant-Gardes: Exchange and Transformation (Los Angeles, 2002), p. 291f.; La planète affolée: Surréalisme, dispersion et influences, 1938-1947 (Marseille, 1986), p. 251; Milano p. 650
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32 PARIS. SALLE GAVEAU. Festival dada. Mercredi 26 mai 1920 à 3 h, après-midi. Programme. Handbill poster, printed in black on pale green stock, overprinted in orange with an elaborate dada mechanomorphic drawing by Picabia (and additional text). On the verso: catalogue of the Dada publishers and gallery Au Sans Pareil. 350 x 250 mm. (13 5/8 x 9 3/4 inches). Design by Francis Picabia and Tristan Tzara. On the program (which is headlined in orange with the announcement “Tous les Dadas se feront tondre les cheveux sur la scène!”) are featured “le sexe de dada,” “le célèbre illusioniste” by Philippe Soupault, “le nombril interlope, musique de Georges Ribemont-Dessaignes, interprété par Mlle. Marguerite Buffet,” “festival manifeste presbyte, par Francis Picabia, interprété par André Breton et Henri Houry,” “le rastaquouère” by Breton, “la deuxième aventure de monsieur Aa l’antipyrine” by Tristan Tzara, “vous m’oublierez, sketch par André Breton et Philippe Soupault,” “la nourrice américaine, par Francis Picabia, musique sodomiste interprétée par Marguerite Buffet,” “manifeste baccarat” by Ribemont-Dessaignes, enacted by Soupault, Breton and Berthe Tessier, “système DD” by Louis Aragon, “je suis des javanais” by Picabia, “poids public” by Paul Éluard, and “vaseline symphonique,” by Tzara, among other things; foxtrots were played on the famous organ, accustomed to Bach; Ribemont-Dessaignes performed his “danse frontière,” wrapped in a large cardboard funnel oscillating at its tip. The audience, pettishly put out by the Dadas failing to have their heads shaved as promised, pelted the participants with tomatoes, rotten eggs, bread rolls, and, from one corner, veal cutlets, a novel touch. Tiny tears at edges, with a few small losses at bottom; a very fine, comparatively bright copy, superior to those exhibited in the 2005/2006 exhibitions, particularly rare with such strong color. Paris, 1920. $9,500.00 Documents Dada 20; Dada Global 229; Almanacco Dada p. 607; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 768; Motherwell/Karpel 45, p. 111ff., illus. p. 179; Dachy p. 136 (illus. in color); Dachy: Archives Dada/Chronique p. 422 (illus. in color); Düsseldorf 257; Zürich 443; Tendenzen 3.112; Pompidou 1472, illus. p. 431; Washington: Dada pl. 360
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33 PICABIA, FRANCIS. Poèmes et dessins de la fille née sans mère. 18 dessins - 51 poèmes. 74, (6)pp. 18 full-page line drawings by Picabia in text. Sm. 4to. Printed wraps. Glassine d.j. A collection of fifty-one poems and eighteen drawings by Picabia, begun in Martigues in November 1917 and continued in Lausanne the following February, where, suffering from an attack of nervous depression, he had gone to convalesce. Forbidden by his doctors to paint, Picabia complemented his poems, melancholy meditations on love, death, and sensation, with spare mechanomorphic abstractions, themselves composed as much of words as of line. Uncut. Unopened. A very fine copy. Lausanne, 1918. $4,800.00 Dada in Zürich 79; Ades 7.21; Almanacco Dada p. 435 (illus.); Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009), no. 457; Dada Artifacts 106; Motherwell/Karpel 322; Rubin p. 235; Lista p. 243; Dachy: Archives dada p. 475; Tendenzen 3/89 Zürich 336; Pompidou: Dada 1278, illus. pp. 741, 795; Le Bot, Marc: Francis Picabia et la crise des valeurs figuratives (Paris, 1968), p. 150ff.
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34 New York. Betty Parsons Gallery. “JACKSON POLLOCK. Betty Parsons Gallery. 15 East 57th St. Nov. 26 - Dec. 15, 1951. Opening 4 - 7.” Double-sided poster (O’Connor & Thaw 1090 [P26]), printed by Acme Press, New York, in an edition of unknown size. Serigraph (per O’Connor & Thaw) or offset lithograph, in black on cream wove stock. 431 x 558 mm. (16 15/16 x 22 inches. On the verso, an abstract composition by Pollock filling the full sheet, with serigraphed or lithographed signature at lower left. Pollock himself designed and executed this poster, made for the important exhibition of 26 November - 15 December 1951, Pollock’s last with Betty Parsons: 21 oils, watercolors and drawings. Clement Greenberg wrote, “Jackson Pollock’s problem is never authenticity, but that of finding his means and bending it as far as possible toward the literalness of his emotion. Sometimes he overpowers the means but he never succumbs to it. His recent show at Parsons’ reveals a turn but not a sharp change of direction; there is a kind of relaxation but the outcome is a newer and loftier triumph. All black and white, like Kline’s, and on unsized and unprimed canvas, his new pictures hint, as it were, at the innumerable unplayed cards in the artist’s hand. And also, perhaps, at the large future still left to easel painting...” (Partisan Review, Jan.-Feb. 1952). The edition of this poster was folded by the gallery for insertion into the catalogue of the exhibition. This example has been expertly flattened and conserved, and the foldlines are scarcely visible. An extremely fine copy, very crisp and clean. New York, 1951. $4,800.00 O’Connor & Thaw 1090 (P26)
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35 SCHWITTERS, KURT. Merz. [No.] 4. Banalitäten. Juli 1923. Redaktion des Merzverlages: Kurt Schwitters. (16)pp. (paginated 33-48). 9 line-drawn and halftone illus. Contents printed on pink stock. Lrg. 8vo. Orig. wraps., with typographic composition by Schwitters. Contents printed on pink stock. Containing Schwitters’ “Banalitäten,” Arp’s “Die Hausernkaserne,” Hausmann’s “Chaoplasma,” and other texts and verse by Ribemont-Dessaignes, Tzara, Malespine and others. Illustrations by and after Picasso (‘Sacipos’), Rietveld, Schwitters, Oud and Van Doesburg, Segal, Arp, Moholy-Nagy, et al. Slightest wear to wrappers, two very small clean marginal tears within: a clean, crisp and attractive copy. Hannover (Merzverlag), 1923. $8,000.00 Schmalenbach/Bolliger 235; “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990) 7; Wilpert/Gühring 6; Raabe/Hannich-Bode 273.12; Heller, Stephen: Merz to Emigre and Beyond, p. 61ff.; Gershman p, 51; Dada Global 110; Ades p. 123ff., 6.19; Almanacco Dada 91; Gershman p. 51; Motherwell/Karpel 78; Verkauf p. 180; Rubin 469; Dada Artifacts 71; Pompidou Dada 1385, illus. pp. 687, 901; Washington: Dada p. 169ff.
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36 SENTOU, CORINNE. Livre de 126 dessins. 126ff. Prof. illus. throughout with original abstract drawings in vivid colored markers and pencil, many with cut-out and collage elements. 320 x 240 mm. (circa 12 1/2 x 9 3/8 inches). Signed and dated (“Aout”) in pencil on the final leaf. Sm. folio. Wraps. Glassine d.j. An elaborate unique bookwork, executed in a large-format Stylbloc sketchbook (Papeterie Robert), imprinted “Livre de dessin” on the front cover. The book artist and sculptor Corinne Sentou, born in Toulouse in 1964, has exhibited widely in France and elsewhere since 1996. Provenance: Galerie Eric Dupont (stamp), Paris; Kenneth L. Freed, Boston (label). N.p., 2000. $2,200.00
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37 (TEIGE) Nezval, Víteslav. Abeceda. Tanecní komposice milci mayerové. [Alphabet. Choreographic compositions by Milca Mayerová.] 57, (3)pp. 25 full-page plates. Sm. folio. Dec. wraps. (dusty and slightly worn), designed by Teige. Karel Teige’s remarkable design places photographs of a dancer posed in stylized alphabetic postures (choreographed by Mayerová) against bold Constructivist compositions of the same letter forms, creating typo-photomontages which are juxtaposed with Nezval’s poems on the opposite pages. “Pioneers of new typography regarded photography as intrinsic to their discipline. For example, Teige believed that the use of photography ‘changed the nature, structure, and quality of modern typography,’ and, like Moholy-Nagy, he argued for ‘the synthesis of the two “black arts,”’ coining the term phototypography” (Jaroslav Andel, in Houston). Light wear to title-page; an exceptionally fresh copy. Praha (J. Otto), 1926. $4,500.00 Parr, Martin & Badger, Gerry: The Photobook: A History. Vol. I, p. 94f.; The Open Book p. 62f.; Primus 47; Houston p. 104f. (illus.).; IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 41, illus. p. 36; Winterthur 157; Andel 107; Andel Avant-Garde Page Design 1900-1950 no. 338-340; The Czech Avant-Garde and Czech Book Design: The 1920s and 1930s (Florham-Madison Campus Library, Fairleigh Dickinson University, n.d.), cat. no. 24
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38 [391. NO. 15.] LE PILHAOU-THIBAOU. Supplement illustré de “391.” (16)pp. Tabloid folio. Self-wraps. Contributions by ‘Funny Guy’ Francis Picabia, Jean Crotti, Ezra Pound, Guillermo de Torre, Cocteau, Duchamp (as Rrose Sélavy: “Si vous voulez une règle de grammaire,” being extracts from a letter to Picabia of January 1921, using puns to ridicule grammatical rules), Georges Auric, Céline Arnauld, Pierre de Massot, Clément Pansaers, Gabrielle Buffet, Paul Dermée, et al. “‘Le Pilhaou-Thibaou’ (Editor: Funny Guy) was announced as an ‘illustrated supplement of “391”’ but the only illustration it contains is an extremely rudimentary drawing by Picabia (from ‘Poèmes et dessins de la fille née sans mère’) on the back cover: ‘Monument à la bêtise latine.’ Picabia considered it no. 15 of the ‘391’ series, temporarily changing the name because of ‘391’s close association with Paris Dada. It is less aggressive in both tone and appearance than the preceding ‘391’s; the typography is still very varied, and some pages look like posters, there are still banner headlines, aphorisms running round the page and texts facing in different directions but the over-all look is more static. “Neither Ribemont-Dessaignes nor any of the ‘Littérature’ group, naturally, appear, but Picabia gathered new adherents like Ezra Pound and Pierre de Massot. The two poems by Pound were the first to be translated into French.... ‘Pilhaou-Thibaou’ also contains the first mention of Jean Crotti’s movement ‘Tabu,’ restricted to himself and his wife Suzanne Duchamp. ‘And besides DADA has no importance because I am TABU-DADA or DADA-TABU,’ to which Picabia was party as he was all for sowing maximum confusion round Dada” (Ades). Central fold, as usual; discreet small stamp; a fine copy. Paris, 1921. $5,000.00 Ades pp. 146f., 153; Gershman p. 54; Almanacco Dada 160; Chevrefils Desbiolles p. 316; Sanouillet: Dada in Paris (Cambridge, 2009), no. 740; Motherwell/Karpel 86; Verkauf p. 183; Pompidou Dada 1340, illus. p. 72.1; Düsseldorf 250; Zürich 396; Milano p. 648
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39 TZARA, TRISTAN. La première aventure céléste [sic] de Mr. Antipyrine. Avec des bois gravés et coloriés par Marcel Janco. (Collection Dada.) (16)pp. 8 original color linocuts, of which 6 full-page in teal blue and black, and 2 other in black (front cover and cul-de-lampe illustration), printed on uncut fine laid paper. Image size: 170 x 90 mm. (6 3/4 x 3 1/2 inches). Sm. 4to. Orig. grey wraps., with handcut typography on front cover, reproduced from a woodcut design by Janco. Dated 28 July 1916 in the justification, this is the first publication of the Collection Dada and possibly the first Dada imprint; it is also the first book of Tristan Tzara, then nineteen years old. Mr. Antipyrine takes his name from a now forgotten patent medicine which Tzara found helpful for his migraines (and not, as is sometimes said, from a type of fire extinguisher). Its contents contain a selection of his early verse, African chants, and the first Dada manifesto, included by Tzara under his own name rather than that of one of his characters (“Dada est notre intensité.... Dada est l’art sans pantouffles ni parallèle...”). Wraps. lightly worn, with a few nearly indetectible expert mends. An historic early presentation copy, inscribed by both Tzara and Janco on the inner front cover: "Sympathie + affection/ Tristan Tzara/ [flower]/ Zürich I/ Fraumünsterstrasse 21/ Centralhof/ [flower] (the foregoing in turquoise ink, and all but the first line in capitals); "Considération/ Marcel Janco" (in black ink, adjacent). The text also contains, on the recto of f. 7, two autograph corrections in black ink, in the hand of either Janco or Heuberger, the printer. Tzara's address here is at the Pension Altinger, where he shared lodging with Janco, who was then enrolled at the Technische Hochschule. By 1918, Tzara had moved to the Hotel Limmatquai. Zürich (Collection Dada/ Imprimerie J. Heuberger), 1916. $25,000.00 Harwood 1; Berggruen 1; Ilk, Michael: Marcel Janco: Das graphische Werk (Ludwigshafen, 2001), CR1-8, pp. 11ff, 77f.; cf. Cernat, Paul: Avangarda româneasca si complexul periferiei: primul val (Bucharest, 2007), p. 111; Gershman p. 43; Dada in Zürich 81; Almanacco Dada illus. p. 461; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 626; Motherwell/Karpel 414; Verkauf p. 183; Dachy p. 38 (color illus. p. 37); Dada Spectrum p. 275; Dada Artifacts 9; Düsseldorf 107; Zürich 348; Pompidou: Dada 1309, illus. pp. 270, 537; Washington: Dada pl. 6; Franklin Furnace 65; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pl. 134; Tendenzen 3/45; The Artist and the Book 135; Castleman p. 176; Manet to Hockney 39
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40 (UBAC) Bryen, Camille. L’aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates, by Raoul Ubac. Wraps., mounted with additional photographic plate, as issued. Edition de tête: one of 32 numbered copies signed by Bryen in the justification, from the limited edition of 300 in all, and here with a fine original drawing by Bryen in black ink, signed with initials, on the front flyleaf. “[Bryen] crée aussi des assemblages d’objets insolites qui poursuivent leur ‘aventure.’ En 1937, dans sa conférence sur ‘l’aventure des objets,’ (texte qu’il publie la même année), il décrit ses expériences plastiques en tenant de les interpréter lucidement. Avec humour, il appelle certains de ses objets ses ‘bryoscopies’” (Biro/Passeron). Bryen had previously collaborated with Ubac on a small book of poems and photographs in 1934, “Actuation poétique.” Here Ubac participates under the pseudonym Ubac Michelet. Small stamp on inside front cover; text browned, as usual; a fine copy. Paris (Collection Orbes), 1937. $2,750.00 Biro/Passeron p. 70
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41 Prince, Douglas. FRANCESCA WOODMAN in Her Studio, 1976-1978. (4)pp., 12 archival digital pigment print photographs, each signed, numbered, dated and titled in pencil on the verso. Image size: 233 x 233 mm. (9 x 9 inches). Sheet size: 355 x 355 mm. (14 x 11 inches). Sm. folio. Portfolio (black boards with mounted cover panel). All contents loose, as issued. One of 12 numbered copies, from the limited edition of 12 with three artist’s proofs. Printed by the artist on Caslon Infinity paper with an Epson 7900. Portraits of Woodman in her Providence studio, made by Prince on five visits between 1976 and 1978, while teaching photography at RISD. “While I never had Francesca in a class, I came to know her as a friend and fellow artist.... I made many environmental portraits of people I knew in Providence, including students. I was particularly interested in photographing Francesca because her unique ‘lifestyle’ was such rich territory and integrated part of her art-making. Her clothing and studio situation incorporated the richness of Victorian textures coupled with the ever-present evidence of entropy. This was a genuine projection of her persona and not some ‘style’ or device put together as photographic prop for her own photography” (from the introduction). N.p. (Douglas Prince), 2012. $4,000.00
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42 YAMANAKA TIROUX (EDITOR). Hommage à Paul Éluard. Numéro spéciale de L’Étoile de Mer. (38)pp., 1 photographic plate (reproducing Éluard manuscripts). Line-drawn portrait of Baudelaire, from Matisse. Flexible boards. Glassine d.j. Édition de tête: one of 50 numbered copies on japon impérial, from the edition of 300 copies in all. Texts--in French, Japanese and English--by Éluard (translated by Tiroux Yamanaka), André Breton and Éluard (“Le jugement originel”), René Char (translated by Seiichi Fujiwara), Junzaburo Nishiwaki (“Le cerveau combustible,” “Aegean Sea”), Tiroux [Chiru] Yamanaka (“Jouer au feu,” etc.), Katue Kitasono (“Opera poetica”), Hajimé Cato and Sadam Asoh (“Sacraçaux”). “[A] une ou deux exceptions près, la plupart des poètes japonais accueillent le surréalisme comme une variété de style, ou comme un savoir, alors même que ceux eux le terrain favorable à son apparition fait défaut. Un homme comme Yamanaka Chiru, par example, est plus un bon théoricien, un bon initiateur du surréalisme qu’un vrai ‘pratiquant.’ Il entretien une correspondance avec Breton, notament, et en 1937 organise avec Takiguchi Shuzo l’Exposition internationale du surréalisme, intitulée en japonais ‘Exposition d’oeuvres surréalistes de l’étranger’” (Tsuruoka Yoshihisa, in “Japon des avant- gardes”). A very fine copy. Very rare. Kobe (Éditions de l’Étoile de Mer), 1934. $2,250.00 Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 193 (illus.), 516, cf. p. 176
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43 (YANASE) Andreyev, Leonid. Kuroi kamen [Black Mask]. Translation by Masao Yonekawa. (Senku Geijutsu Sosho. 11.) 122, (4)pp. Frontis. portrait photograph. Dec. wraps. designed by Yanase, printed in red, violet and black. Book design by Yanase Masamu, with fine, complex abstract compositions by him on the front cover (printed in red, violet and black) and on the title-page (in green and black). In 1924-1925, Kinseido published a number of modernist Western writers in its “Senku Geijutsu Sosho” series, including Marinetti’s “Denki ningyo” and Capek’s “Robotto” (both designed by Kanbara Tai), and other works by Pirandello, Hasenclever, Toller, and O’Neill. Pale trace of staining, generally very fresh and crisp. Tokyo (Kinseido), 1924. $1,200.00
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THE JULIET KEPES ARCHIVE
The distinguished and innovative artist, writer and illustrator, Juliet Appleby Kepes (1919-1999) is best known for the 17 children's books she wrote and illustrated, which won her a Caldecott Honor citation (for "Five Little Monkeys" in 1952) and other awards from the Museum of Modern Art, the American Institute of Graphic Artists, and the Society of Illustrators. The New York Times four times cited her books among the ten best children's books of the year. Her book "Birds" (1968) was published under the auspices of the Department of Printing and Graphic Arts of Harvard College Library, and introduced by its curator, Philip Hofer. The British-born wife of Gyorgy Kepes, the influential artist and theorist, Juliet Kepes was trained at the Chicago Institute of Design (known then and now as the New Bauhaus), and worked as an artist in a number of fields relating to children, designing environmental spaces, murals, sculpture and textiles, among other things, sometimes in collaboration with her husband. Her work was recently featured in the Museum of Modern Art's "Century of the Child: Growing by Design, 1900- 2000" (July-November 2012), in which the famous playroom environment she and Gyorgy Kepes designed for their daughter in 1949 was recreated at the Museum for this exhibition. Juliet Kepes's gouache drawing for the playroom mural was reproduced as a poster for the MOMA exhibition. The present archive includes more than 3,000 original drawings in various formats-ranging from quick occasional sketches to elaborately finished watercolors and finely painted sumi ink wash scrolls and albums-as well as extensive manuscript and typed texts for her books, both published and unpublished, and artwork relating to these from various stages of technical production. Also among the drawings are examples of her designs for holiday and greeting cards, some of which were published by the Museum of Modern Art and by Design Research.In addition, the archive includes a variety of other creations, such as handmade puppets and painted wooden objects for children's rooms, bolts of textiles jointly designed by Juliet and Gyorgy Kepes, and examples of her original lithographs, etchings and silkscreens, all of which relate to her work as an illustrator. The archive also includes correspondence with editors, publishers, gallerists, and collaborators, as well as other professional files. Perhaps the most significant aspect of the Juliet Kepes Archive is the vast amount of material it contains-both of illustrations and of text-for books that were never published. These projects include some of her finest work, which, for various reasons of her own, and of her several publishers, were never completed or released. They include hundreds of manuscript drafts and annotated typescripts, together with an extraordinary wealth of artistic designs, worthy of study and, perhaps, eventual publication. Further details on request. Price on application